Masaaki Suzuki was an organist before he was a conductor, and his recordings of Bach's organ works have made a delightful coda to his magisterial survey of Bach cantatas with his Bach Collegium Japan. This selection, the second in a series appearing on the BIS label, gives a good idea of the gems available. You get a good mix of pieces, including a pair of Bach's Vivaldi transcriptions. Fans of Suzuki's cantata series will be pleased to note the similarities in his style between his conducting and his organ playing: there's a certain precise yet deliberate and lush quality common to both. And he has a real co-star here: the organ of the Kobe Shoin Women's University Chapel, built in 1983 by French maker Marc Garnier. The realizations of Bach's transcriptions of Vivaldi concertos fare especially well here, with a panoply of subtle colors in the organ. Sample the first movement of the Concerto in D minor, BWV 596, with its mellow yet transcendently mysterious tones in the string ripieni. BIS backs Suzuki up with marvelously clear engineering in the small Japanese chapel, and all in all, this is a Bach organ recording that stands out from the crowd. Highly recommended.
Much of Bach’s organ music was written during the earlier part of his career, culminating in the period he spent as court organist at Weimar. Among many well-known compositions we may single out the Dorian Toccata and Fugue in D minor, BWV 538, the Toccata, Adagio and Fugue, BWV 564, Fantasia and Fugue in G minor, BWV 542, Passacaglia and Fugue in C minor, BWV 582, Prelude and Fugue “St Anne”, BWV 552 (in which the fugue theme resembles the well-known English hymn of that name), Toccata and Fugue in D minor, BWV 565, and the Toccata and Fugue in F, BWV 540. Chorale preludes are compositions for organ that consist of short variations on simple hymn tunes for all seasons of the church year. Better-known melodies used include the Christmas In dulci jubilo, BWV 608, Puer natus in Bethlehem, BWV 603, the Holy Week Christ lag in Todesbanden, BWV 625, and the Easter Christ ist erstanden, BWV 627, as well as the moving Durch Adam’s Fall ist ganz verderbt, BWV 637, and the familiar Wachet auf, ruft uns die Stimme, BWV 645, and Nun danket alle Gott, BWV 657.
After its successes in the field of German Baroque religious music, here VOX LUMINIS proposes the first complete recording of the motets by Johann Sebastian Bach's ancestors. These motets, most of which are written for double choir, blend the old tradition inherited from the polyphony of the Renaissance with expressive work inspired by the fashions of the madrigal. The chorale melodies that are quite frequently associated with these motets contribute this colour typical of the Lutheran liturgical repertoire.